Contemporary Art and Documentary practices have become hopelessly, instructively, and productively intertwined over the past few decades. Based on the work of Barrada and a host of her contemporaries, we have moved on from earlier postmodernism debates about fact versus fiction to more nuanced considerations of the historical trajectory of documentary as photography became more prevalent within artistic practices after the 1960s. Using a host of examples, this panel will articulate a set of working questions for discussion and debate.